Abstract

Described in the narratives involving two levels: as defined by Genette \The \narrative of space control and domination on the reader's attention. Among them, the narrative distance (speed and rhythm) and timing is the topic of traditional and classic. As for the previous studies, some interval for the type of change and timing processing ontology, but more scholars just treat them as a narrative tools, instruments or strategies. These scholars from different fields: foreign philosophy, logic, ancient Chinese literature (history), Chinese contemporary literature, literary theory, Chinese Philology, Comparative Literature and World Literature, Chinese classical literature, Chinese Folk Literature, Journalism, English language and literature, film and television director and animation design, radio and television art and academic teaching (language) and use teaching of writing, translation assessment, film and television works of aesthetic appreciation and literary text analysis. Especially for certain types, a unit of the literary works of a particular author, or someone Filmography distance and timing detailed analysis of the beauty of its rhythm and perversion exciting effect . Of course, there are cognitive psychologists such as Xiting, Liurui Guang, Zhang Zhijie on the distance perception anchoring effect, intermittent An Empirical Study of the desired effect and emotional effects. However, most of these studies is a departure from beyond the sentence, the macro level, with the linguistic examples are rare, little attention behind the operation of a variety of distance and timing type basis. This article aims to compensate for this shortcoming, from a cognitive perspective to explore the Cognitive Motivation fiction narrative of narrative time processing, cognitive drive under the whole iceberg. When the distance is the ratio of the length of time of the story duration and narrative continuity. Due to the difficulty of narrative duration measured, Genette proposed as the basis for spatial units, in fact, this is a mapping from spatial cognition domain to the time the results of the cognitive domain. The ratio of the length of two time reflects the speed and rhythm of the narrative also suggests that the status of the distribution of attention. The duration of the story, the short text of space for quick, otherwise it is slow, which is the number of manifestation of iconicity. In the discourse of the novel text field, characters, due to its specific name, carry or evolving psychological and personality characteristics, graphical status is likely to become the focus of attention, to highlight the environment was only a background. The same time, each event because of the attention given to each, which appears only open that window (the starting point of the window, the window on the way and the end of the window), two phenomena, resulting in the same event construal operations. Only one or two window to activate the entire series of events, it is also to turn Yu mechanisms to promote and expand the role of, and is also dependent on the human perception Gestalt tendency. Not open the window making it dependent on the cognitive background. Timing story timing and narrative timing, they coincide or not, distinguish flashbacks, narration and Prolepse type. They sequence iconicity principle or contrary to. From the reader's point of view, the narration due to its old information and new information conventional prototype, economic information structure, interpretation consume less energy; the flashbacks and Prolepse due perversion of its time, the first new information , the old information is set to break the routine, causing Schema interference, the need for more cognitive processing. In essence, read this mental activity is assimilation and conform to the poles interactive build process.